New Approaches in the Conservation of Contemporary Art (NACCA) is a Marie Curie ITN for 15 PhD’s, designed by experts working in museums, heritage organisations and universities that have a profound experience in the field of contemporary art conservation and conservation research. It consists of a research and a training part in summer schools and winter schools, including public events. NACCA is coordinated by the Faculty of Arts and Social Sciences at Maastricht University and executed in collaboration with several European project partners, including UvA's Conservation and Restoration department.
24–27 March 2019, Bonnefantenmuseum, Maastricht
This symposium aims to strengthen the exchange between theory and practice in the conservation of contemporary art by exploring promising practices (and failures) and by critically questioning its conditions and drawbacks. It is a collaboration between the EU funded Marie Sklodowska-Curie Innovative Training Network New Approaches in the Conservation of Contemporary Art (NACCA), the Maastricht Centre for Arts and Culture, Conservation and Heritage (MACCH) and the Bonnefantenmuseum Maastricht. Next to the presentation of the 15 NACCA PhD projects, it will host several keynote lectures, panels and round tables.
25–26 June 2018, Cologne University of Applied Sciences, Cologne
From different perspectives to common grounds in contemporary art
A two-day conference at the Cologne Institute of Conservation Sciences (CICS) in Cologne (Germany) providing a cross-disciplinary forum for conservation professionals, art historians, conservation scientists, and students to address current issues and advances in contemporary art conservation. NACCA PhD students will present their work amongst that of other contemporary art conservation researchers.
28–30 June 2017, Centre for Contemporary Arts, Glasgow
Material Futures: Matter, Memory and Loss in Contemporary Art Production and Preservation
This conference provides a forum for professionals, researchers, and students working across different disciplines to discuss urgent questions regarding artwork identity, permanence and impermanence, reproducibility and replication, and the role of the artist and the institution in constructing and maintaining memory.
16 January 2017, Tate, Switch House
NACCA researchers presented their ongoing research during a public poster session hosted by Tate Modern in London.
25–29 June 2018, Cologne Institute of Conservation Sciences
Cologne Institute of Conservation Sciences, TH Köln, hosted the third and final NACCA Summer School. In addition to the two-day NACCA Symposium, the programme included peer reviewed feedback sessions and a collaborative session on revising the Decision-Making Model for Contemporary Art Conservation when treating 21st Century artworks, providing an opportunity for discussing key terms used in the conservation of contemporary art.
15–19 January 2018, University of Porto
The Faculty of Fine Arts of the University of Porto hosted the 3rd and last NACCA Winter School. Apart from chapter feedback sessions, this fifth training event focused on gaining career-oriented skills through several workshops and career examples, and included discussions on decision-making in conservation problems in interdisciplinary settings, with artists, curators and conservators.
26–30 June 2017, University of Glasgow
The fourth NACCA meeting was organised by Glasgow University and was hosted by the Centre of Contemporary Arts and the Glasgow School of Art. It was the second summer school, and concentrated on the work in progress. During an intense and successful three day programme PhD researchers and supervisors met to evaluate the process and outcomes thus far.
16–20 January 2017, Tate Modern
The third training event focused on professional skills for museums and the heritage sector. The programme focussed on the complexities of professional communication and collaboration to encourage reflection on perceptions of museum practices. A focal point was the question whether the way in which conservation is perceived and communicated within a contemporary art museum needs to be changed and how this can be accomplished. Sanneke Stigter and Ella Hendriks, from the University of Amsterdam’s Conservation and Restoration of Cultural Heritage programme, led an interactive session where students developed strategies for exhibiting conservation.
11–15 July 2016, University of Amsterdam
The Faculty of Humanities of the University of Amsterdam hosted the second training event, NACCA's first Summer School. The training programme included an introduction to Problem Based Learning, artist interviews, research ethics; and documentation methods. The group was able to attend behind-the-scene tours of the conservation studios of the Stedelijk Museum Amsterdam, the Rijksmuseum and the research labs of the Cultural Heritage Agency of the Netherlands.
25–29 January 2016, University of Maastricht
Fifteen doctoral students and their supervisors came together at the first Winter School for the Marie Skłodowska-Curie Innovative Training Network ‘New Approaches in the Conservation of Contemporary Art‘ (NACCA). The focus was on general academic skills, research methodology, ethics and data management, in addition to history, theory and concepts of contemporary art and art conservation.